Walter Addiego

Although it has its merits, Operation Finale — which recounts the 1960 extraction of Adolf Eichmann from Argentina and his delivery to Jerusalem to stand trial — fails to measure up to the deep historical impact of the events it depicts.

Succeeds better than it ought to, largely because of the personality and prodigious talents of its director and star, the Italian comedian Roberto Benigni.

Defamation tries to give all sides a full airing, but it's not hard to guess the director's own feeling. At the end, he says, "Putting too much emphasis on the past, as horrific as it has been, is holding us back."

Costner’s performance is mostly monotone, but Harrelson has some nice moments portraying Gault as surprisingly reflective.

Part of what’s missing in The House of Tomorrow is the acerbic punk spirit that inspires its two heroes, which could have been remedied by a sharper script.

The dramatic payoff is a bit disappointing; the movie is often overwrought; and its sense of its own importance finally wears you down.

The movie isn’t really bad, just tepid, and it’s partly redeemed by a good lead performance.

Kline is good in a role that suits him perfectly, and his scenes with Steenburgen are among the film’s most affecting. Jacobs is pretty good, too, really pouring on the Southern California “charm.”

The joy is in the details - from the animated credits to the perky pop score to the pre-"Mad Man" hair, clothes and general sensibility.

Throughout, Croghan knows where she wants to go, but has no fresh ideas for getting there. The characters are reasonably appealing, but the jokes are mostly weak.

Despite its sometimes bloody content, the mood of Happy Death Day is remarkably sappy, aimed at the broadest possible audience for a film of its genre. Think of it as “slasher lite” and an acceptable date movie for unadventurous types, and you have the gist of it.

It's a celebration of a shady landmark, but also a lament.

Credit Freyne for ambition — he’s trying to make a zombie movie with a certain amount of discretion, and evoke sympathy for at least some of those who’ve perpetrated unspeakable actions. But he’s juggling too many themes here, and manages to lose us somewhere along the way.

It's a nightmare fairy tale that can be very difficult to watch.

Linklater has less success telling a story; time passes amiably, but the film has no center.

The performers don't really seem at the top of their game here.

Nothing groundbreaking, but there's an easy charm in the movie.

For a good, straight-ahead noirish crime thriller, you could do a lot worse than A Walk Among the Tombstones.

A heartfelt effort, if at times a bit heavy-handed.

It's tear-jerker material but ends up being quite touching, and it's a good choice for family viewing.

From Juan Ruiz-Anchia's florid, eruptive photography to the pinpoint editing by Howard E. Smith that enhances it, everyone involved with The Corruptor understands that action is the bottom line - except Chow.

Breaking Upwards has its amusing and touching moments, but we're left wondering just what we're supposed to make of it all. In the end, the relationship at the film's core is less absorbing than the filmmakers imagine.

This flawed drama about a self-destructive young actress and her reclusive novelist father has its rewards, mainly in some good performances.

Much of what we see is revealing, but I was unable to quell an occasional sense that the dice were being loaded, that the subjects were being given just enough rope to hang themselves.

Entertaining but predictable, and too long.

Offers some memorable stories, but it simply tries too hard.

An old-fashioned and family-friendly comedy.

Math buffs will appreciate the inclusion of a brief and witty anecdote they may already know involving Ramanujan and the number 1,729. Well done.